This year has been daunting. As I sat down to work on WRBB’s top ten list earlier this month, I found myself holding a tremendous amount of pessimism in association with 2018, and it wasn’t exactly unwarranted. This year’s events pushed Time magazine to make its person of the year “The Guardians,” a group of journalists who have been targeted for their work. This year found children in cages after seeking asylum. This has been a year where American citizens have had to come to terms with how vulnerable we are at the hands of large institutions, tech companies and the government. I won’t even get into international headlines.

Somehow, all of that pessimism bled into my perception of what the music industry had to offer this year. In reality, music has been the breath of fresh air keeping me sane this year.

Here are my top ten albums of 2018:

10. Inside Voice

Joey Dosik

Joey Dosik is a fresh face in the industry, and he has already captured my attention as a master of contemporary soul. A member of Vulfpeck, Dosik’s solo effort has impressed me more than anything the band has had to offer in recent years. The album gives listeners a lot of new and original work, as well as some classic and beloved covers. Inside Voice may have JUST made the cut, but the album is a beacon of hope for what Dosik has in store for the future. Released under Secretly Canadian in August, this beautifully mellow album was a great way to cap the summer off. Rating: 7/10

I honestly don’t think this album was released with the intention of getting much hype, but it ended up taking the electronic music world by storm. Once it was revealed that Against All Logic is just a pseudonym for Chilean American artist Nicolas Jaar, I thought the album would be a collection of throwaways. But, none of the songs on here fit that category. 2012 - 2017 is a gorgeous and dynamic collection of songs that prove Jaar’s versatility as an artist. On top of that, there is a newfound soulfulness to the production on some of these cuts that I have never seen before in Jaar’s work. He samples David Axelrod on the opener! Released under Other People in February, this album was a breath of fresh air in an otherwise dismal year. Rating: 7.5/10

This album is terrifying. The second I put it on, my ears started to curl up. But, at the same time, I was dying to hear more. This album, released under Anti-Ghost Moon Ray in September, is a cathartic release of satirical rage from mastermind Elizabeth Bernholz. On Pastoral, the British avant garde artist takes aim at the state of politics and life in the UK, but it really serves as a statement on the world. It’s a fleeting project, clocking in at 37 minutes, but its impact is profound. Rating: 7.5/10

If somebody had told me that Low would make my top ten list for 2018, I would have laughed in their face. Then again, I would have laughed if somebody had told me about a lot of things that went down this year. This album is an avalanche of sludgy, warped and dark slowcore. It’s a step in the right direction for the veteran group. Released under Sub Pop in September, this album is really just one big song, as well as one big expression of fear and hopelessness. Rating: 7.5/10

Man oh man, this album is a trip. It’s intense, it’s in your face, and it’s a whole new take on jazz. The UK has given us a lot of good music this year, and Sons of Kemet are no exception. They are also the leading figures of a burgeoning jazz movement in London. If you haven’t read up on that, check out this awesome feature by Kate Hutchinson for the New York Times. All in all, this politically charged opus is what the sound of modern jazz should be (not Kamasi Washington). Rating: 8/10

It took me a while to jump on the JPEG train. But once I did, I understood the hype. This album is like a slap in the face. It’s brutal, intense and still completely listenable through and through. The groundbreaking production and vocals are only further backed up by the witty lyricism from Barry Hendricks, who may quite possibly be one of the smartest rappers out there right now. Quit comparing the guy to MC Ride. If anything, he’s the new O.D.B Rating: 8/10

Everyone is comparing Earl’s new album to Madvillain. So much so that it’s a meme now. But I just don’t see it. This is a step further than Madvillainy. I may get shit for this, but the minimal production and the hard-hitting lyrics simultaneously contrast and complement each other in a way I have never heard before. This album is a change of pace not only for Earl, but for hip hop in general. Running super short at less than half an hour, the Columbia released project came out right at the end of November, just in time to dominate year-end lists. It only makes me hungry for whatever Earl has in store for us next. Who known when that will be… Rating: 8/10

This album is a movie. It’s rare to see a hip hop album that deals heavily and practically exclusively in mythology. Ka and Animoss coming together is also something that I thought I would never see happen, but sure enough, both did. And with that came Orpheus vs. The Sirens, released under Obol for Charon in August, it’s a bizarre and captivating trip into the New York firefighter’s mind, accompanied by some of the crispest production I have ever heard. Nothing beats a good film dialogue sample in a rap song. Be sure to sit down and listen to this guy all the way through. Rating: 8.5/10

This album, released under Big Crown in July, came out of nowhere. Okonkolo is an afro-cuban god, and the musical group that now holds its namesake makes god-like music. The prayers that make up Okonkolo’s debut album are some of the most complex and beautiful that any classical tradition has produced. They are also some of the oldest, which according to the group, address Obatala, the creator of the world, Ochun, the goddess of love and beauty, and Chango, God of the drum. This is a masterpiece in modern religious music. I don’t say this lightly. I’m not religious. Rating: 8.5/10

2018 is Rosalía’s year. She started it off by slowly trickling down a single or two, building fan expectations. The sound she was providing was crisp and new, showing tremendous promise. Her debut LP was a standard in flamenco, and many expected the same thing from her follow-up. But when El Mal Querer dropped, it seemed like the whole world was blown away. Produced almost exclusively by El Guincho, the album is an experimental flamenco-pop original. Remarkable in its ambition and execution, Rosalía has provided fans and new listeners with an unforgettable experience. I’ll let her music say the rest…. Rating: 9/10